By Rodney Stenning Edgecombe
While Thomas Hood has lengthy been considered as a minor comedian poet, this book--the first to commit itself solely to his verse--provides an in depth research of 2 'serious' poems ('Hero and Leander' and 'The Plea of the Midsummer Fairies') that allows you to supply a greater experience of his diversity. so much commentators have pointed to the impact of Keats on such events, yet shut exam unearths an excellent higher debt to Elizabethan and Metaphysical poets, whose occasionally playful deployment of the self-esteem struck a chord in his sensibility. while, the publication provides Hood's comedian genius its due, offering unique bills of the deftness and panache of his light-hearted oeuvre. One bankruptcy examines his day trip into the mock-heroic mode (Odes and Addresses to nice People), and one other his reliance on that airiest of varieties, the capriccio (Whims and Oddities). The research concludes with an intensive exam of 'Miss Kilmansegg and Her necessary Leg,' exhibiting how Hood used to be right here capable of inflect a jeu d'esprit with an outstanding Juvenalian ardour.
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Additional info for A Self-divided Poet: Form and Texture in the Verse of Thomas Hood
The uncommon craft of Hood redefines this "jump" as an eccentric leap, continuous with the physical clowning that Shakespeare devised for one of his favourite actors: "Kempe was a famous jig-dancer . . "87 This comic misconstruction characterizes the poet's own verse—the "dansant" quality bound up with the "jump" of its puns. At each verbal coincidence, at each elated cry of "snap," the poetry jigs in a high-spirited way, carrying the reader over all the potholes and runnels that time has eroded in the topicality of the Odes and Addresses.
Even so, one is tempted to read the "us" and "our" as a dig at the royal "we-ing" favoured by the critics he has just dismissed. The "Ode to the Great Unknown" also centres on questions of literary taste and fashion—in this case, the cult of Sir Walter Scott. He had published his novels anonymously for the sake of creative freedom, and also to avoid any damage to his professional standing—"I shall not own 'Waverley'; my chief reason is, that it would prevent me the pleasure of writing again. .
30) Hood even takes the reformer's sober Evangelical clothes into the orbit of his puns, the "black suit" as much a pursuit on behalf of blacks as a black-coloured livery. " As in the "Ode to the Great Unknown," Hood keeps harping on the verb "to like": I LIKE you Mrs. Fry! I like your name! It speaks the very warmth you feel in pressing In daily act round Charity's great flame— I like the crisp Browne way you have of dressing, Good Mrs. Fry I like the placid claim You make to Christianity,—professing Love and good works—of course you buy of Barton, Beside the young fry's bookseller, Friend Darton!
A Self-divided Poet: Form and Texture in the Verse of Thomas Hood by Rodney Stenning Edgecombe